A01=Zander Brietzke
Author_Zander Brietzke
Category=ATD
Category=ATF
cinema
cinematic arts
drama
dramatic arts
elements of drama
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
film
film history
film vs. theater
plays
playwrights
theater
theater as an art form
Product details
- ISBN 9780817315719
- Weight: 484g
- Dimensions: 162 x 228mm
- Publication Date: 28 Jun 2007
- Publisher: The University of Alabama Press
- Publication City/Country: US
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? American Drama in the Age of Film examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate. Using widely known adaptations of ten major plays, Brietzke seeks to highlight the inherent powers of each medium and draw conclusions not just about how they differ, but how they ought to differ as well. He contrasts both stage and film productions of, among other works, David Mamet’s Glengarry Glen Ross, Sam Shepard’s True West, Edward Albee’s Who’s Afraid of Virginia Woolf, Margaret Edson’s Wit, Tony Kushner’s Angels in America, Tennessee Williams’s Cat on a Hot Tin Roof, Arthur Miller’s Death of a Salesman, and August Wilson’s The Piano Lesson. In reading the dual productions of these works, Brietzke finds that cinema has indeed stolen much of theater’s former thunder, by making drama more intimate, and visceral than most live events. But theater is still vital and matters greatly, Brietzke argues, though for reasons that run counter to many of the virtues traditionally attributed to it as an art form, such as intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by challenging those common pieties and offering a new critical paradigm, one that champions spectacle and simultaneity as the most, not least, important elements of drama.
Zander Brietzke is Adjunct Associate Professor of English and Comparative Literature at Columbia University. He is editor of the Eugene O'Neill Review at Suffolk University, author of The Aesthetics of Failure: Dynamic Structure in the Plays of Eugene O'Neill, and coeditor of Jason Robards Remembered.
